Collection 01

Suggestive Themes

Layers of resin and pigment create a subtle dialogue between light and matter, evoking ethereal landscapes and the depths of the sea.

Riflessi

140 × 200 cm · Resin on canvas

Archive DB-2026-024

In Riflessi, Donatella Ballisai draws the painting’s tension into a band of ivory and gold just right of centre. To its left, cobalt and ultramarine gather in two deep passages divided by silver reflections. The pale band alternates between jagged relief and turquoise veils, carrying the eye from textured density into colour’s apparent depth.

Seen from afar, the distribution of forms suggests a coastline viewed from above. Up close, that shoreline breaks into veins, ripples and amber layers. Resin is essential to this shift in scale: transparent areas allow underlying colours to emerge, while raised surfaces catch the light and reveal details invisible at a distance.

The title evokes the shifting nature of this vision. A slight change of position brings a previously hidden detail into focus as another area recedes into shadow. The imagined landscape takes shape in the encounter between painted surface, light and the viewer’s gaze.

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Abbraccio Marino

100 × 70 cm · Original artwork

Archive DB-2026-029

In Abbraccio Marino, a jagged form extends from the right edge towards the centre. Its diagonal contour leads the eye from nearly black blue above to the turquoise opening below. There, colour curves around the relief, suggesting a current meeting resistance.

Along the outline, the boundary between the two regions becomes uncertain. Silver glints emerge from the blue while warmer tones settle on ridges exposed to the light. Smooth fields of colour seem to retreat behind projections. Depth arises from this alternation of transparent passages and accumulated material.

The embrace suggested by the title is visible in the way blue follows each irregularity of the textured surface. In turn, the relief gives direction to the colour. The sea is evoked through this interplay of forces, legible in the curve of the painted fields and the form that redirects them.

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Sinfonia

140 × 100 cm · Diptych · Original artwork

Archive DB-2026-035

In Sinfonia, Donatella Ballisai distributes light differently across the two canvases. On the left, pale passages branch towards the lower edge in green and turquoise veils. On the right, ochres gather into a denser form near the inner margin, while ultramarine extends along the outside and base.

A copper-coloured vein draws the eye towards the gap between panels. Across that divide, browns and gold echo its warmth with greater intensity. Green also changes its role: on one canvas it spreads through pale transitions; on the other it gathers below an ochre relief, sharpening the contrast with blue.

The title suggests a reading of reprises and variations. The separation between the canvases establishes a rhythm, showing how each colour acquires a different weight depending on its position. The diptych’s unity lies in these correspondences, reassembled by the eye as it travels across the work.

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Sorgente

120 × 80 cm · Original artwork

Archive DB-2026-039

In Sorgente, Donatella Ballisai gathers the densest browns along the canvas edges. At its centre, blue and turquoise emerge through successive openings. Copper-toned ridges cross the composition diagonally, interrupting the fields of colour and guiding the eye from one recess to another.

At the centre, ultramarine forms a compact pool edged in light. Lower down, turquoise opens into translucent passages and fades towards green. Depth comes from changes in surface: accumulated material catches light along its folds, whereas open colour carries the eye beyond the sharper contours.

The title finds meaning in the way colour resurfaces between the ridges. The eye loses its trace behind a copper crest and finds it again in a fresh opening of blue. The recurring appearance of colour suggests the movement of water.

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Oasi Dorate

70 × 80 cm · Original artwork

Archive DB-2026-045

In Oasi Dorate, Donatella Ballisai organises colour into broad masses. Deep green gathers at the upper left, while blue descends in vertical veils to the right. Between them lies a sandy, apricot-toned area crossed by delicate rust-coloured fissures.

A fold of material occupies the centre. Its uneven edge holds a golden reflection that draws the eye towards the blue, where isolated ridges pick up the same light. The movement from translucent veils to textured relief changes the sense of space: from a distance a shoreline appears; closer inspection reveals cracks, ripples and traces of pigment.

The title comes alive where light gathers in these small areas: luminous pauses along a shifting boundary where the colours of water and earth still seem in motion.

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Fusioni

70 × 80 cm · Original artwork

Archive DB-2026-048

In Fusioni, Donatella Ballisai lowers a band of burnt-earth colour from the top of the canvas. Blue rises from below; where the two meet, veils of dark green and brown blur the boundary between them.

At the centre, copper-reflecting ridges interrupt the expanse of blue. Their irregular arrangement holds the gaze at the composition’s densest chromatic point. Below, turquoise spreads across a wide field as the movement gradually slows.

The fusion is most apparent at the edges of the relief. Green takes on the warmth of copper and then the depth of blue. Following a single contour, the viewer sees it emerge into light and dissolve back into colour.

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